Visual Analysis


Visualanalysis is the spine of art history. With enough exercise, masteryof abilities is attained to simplify in one’s exploration ofworkings of painting. There are fundamental components that compriseall pictures: lines, shapes, form and naturalism. Line is used indescribing shapes and figures as well as also show gesture,sensation, and other fundamentals. Color is well-defined on numerousbalances like tone, significance, and fullness. Form is aspects like3-D, either actual or in artifice. In naturalism, it is by what meansa person creates the image to appear in the physical domains. Thesebasics are laid back in arrangement to make up an image comprising ofsymmetry, balance, proportion and style, rhythm and composition.Symmetry involves representing two cut-ups of work while the balanceis a normal routine of fundamentals during work. Proportion of scaleIs the relation in magnitude of portions of a picture to the entiretywhile rhythm is the graphic pace established by reiterating rudimentsin work. Lastly, composition is the totality of altogether lifelikeand compositional devices. In my visual analysis, I picked thePersistence of Memory image.

SalvadorDali Persistence of Memory: Meaning of the melting clocks.

ThePersistence of Memory is a 1931 image by painter Salvador Dali. Also,it is solitarily his greatest notable work. The communication Daliappears to be putting across, to me, is that life is fast paced aswell as inclusive of a plethora of varieties which from time to timegive rise to disparaging aftermaths. Nonetheless, we move on. Dali’simage depicts a lot of melting timepieces, therefore, a denial oftime being a concrete and deterministic guidance. The implicationSalvador is trying to make in his image is rather hard to fathom. Ina typical Surrealist style, the bizarre, as well as unpredictedcollocation of watches, shams a plethora of queries. Why are thetimepieces melting? Why are the watches on show located in a desert?Where is everybody?

Thescenery for this picture is more of a dull background. The paintingshows a beach covered in dust at the focal point that appearsshadowy. The beach expanses in the direction of the landscape to awater body that meets the horizon line. The heavens above the skylineare uninspired. On the image’s upper right flank, pointy, gravellyoverhangs are seen stretching into the water. In the leftward front,there appears a massive quadrangular that acts as the table. In theopenly, central point, there seems an odd biological figure. At aninstant gaze, one would conclude it to be an animal resting on itsside. Four portable timepieces are positioned in the scene, three ofwhich seem to melt into lax, pliable forms.

Thenatural brilliance in the image suggests a sunrise or sunset becauseof the blondish light adjacent the skyline. The focus is moderatelyblack paralleled to the aloof prospect streak. The shades in theimage are tanned in the center soil, blond in the stony overhangs andskyline, and azure in the heavens, the thin shard of liquid in thelandscape, and three of the four timepieces.

Thereare limited, strange objects in this image. Primarily, there`s a“table” with two clocks and a tanned, lifeless tree stem erectlying on it. One of the timepieces hangs over the brink of the tablewith a portion of it lying on the topmost surface. The watch appearsto be made of tender beeswax as it seemingly loses its substantialnature. The other watch is inverted on the surface of the table as weonly see the gilded covering of its rear. The color of the watch isorange with black ants seen walking all over its surface appearing tobe consuming the watch as if it were palatable.

Athird timepiece which also seems to be melting is hanging over abranch from a dead tree. The fourth timepiece is hanging from theorganic life form at the focus of the image. The creature shows noemblems of life. It is a device surrealist especially Dali use toconglomerate human, botanical, and animal features into a singularentity.

Theimage employs the fundamental elements of art. The lines that Daliuses in this picture contrast with the contour he is operating. Alarge percent of the picture except the cliffs and eyelashes of theorganic form have lines that are comparatively thin and of lateralwidth. The lines on the overhangs are conspicuous and give them anuneven lifelike approach. He uses disparaging lengths and breadths tobring out independence in each lash of the creature. The lines makingup the timepieces are detailed that they display the digits on thefaces. There is an improvement in the graphic look of the mirroringof cliffs in the water body. The lines on the podium and tannedobject are conventional and symmetric. He doesn’t leave conspicuoussketch marks therefore making it difficult to tell apart his linesfrom shading. The lines he exhibits pays tribute to the shadowing ofhis surrealist background.

Thevalues and shading in Dali’s work are tensed out and thorough. Theshadows in his work are the spine of the piece, generatinguniqueness. Dense values climax particulars and color, making a 3-Ddeception in the piece. On the tree, the values are inferred to makethe delusion of a trunk, while the melting watch hanging from itsbranch uses value to bring about a dull and 3-D result. The meltingclocks employ the compacts of color on the faces while the onehosting the ants brings responsiveness to the creatures casing it.The ground is tanned, with bright dark shades intensifying thescenery, therefore, stressing the quantity of rays depicted in thebackground, shinning off of extra interrelating items. The cliffsemploy rays and gloominess diversified with the use of colors tobring about this style. The ants have little shading and are darkwhile the bug on the other clock uses an azure shadow of a humanform. The creature has shading all over its figure with intenseshading on its crown, muzzle, eyelashes and the part it comes intocontact with the ground.

Theimage has numerous shapes and forms that enhance to the exclusivityof its panache. The azure raised area in the remote bend and hugetanned dice facing it are compact 3-D quadrilaterals. The manner inwhich the clocks melt brings about a nous of movement and fragility.The cliffs are familiar shapes, as is the form of water nearby. Thetree, ants, and the bug are effortlessly identifiable. The creatureis almost abstract with omitted fragments and functional parts.However, it has hominoid assets, like the muzzle in as much as it isdevoid of a compact form. Objects in Dali’s portrait interrelatewith the rest, either leaning on or touching. For example, thewatches mold to the item with which they come into a touching base.

Thecolor arrangement beside the shading strives to naturalize theportrait. The colors are dark, and Dali employs both shadow and colorto bring about a diverse involvement. The colors in the image aremostly deep with a lot of blonde, gilded, murky, and chocolate. Thereare correspondingly calm colors in this portrait with Azure, snowy,and gray. For example, the heavens, tree, shadow of the bug, waterand watch faces are all a tint of azure. The working together of thetwo colors brings about balance in the image.

Thetexture of the portrait chiefly concentrates on senses like touch.Beginning with even surfaces to rough and sharp things, Dali deepensthe graphic involvement to make a fantasy logic of contact. Thecobalt podium seems to have a flat reflective exterior and an uneventimber base. The portable clock hosting the ants appears smooth andglossy, nonetheless still covered in small black ants. The twoalienated stones in the background have a flat facade. The whitecreature’s skin is soft as well and its beard and orifices whereits eyebrow seems to be drawn on is not natural. The big eyelasheshave a coarse and smooth texture and so does the rest if its body.

Thewatches are just vital leads to the real implication overdue theimage. The gray clock on the branch is figurative of a period whichhas only just elapsed. The gold timepiece represents the finest eonsof life gradually fleeing. The shut bronze clock with the ants mightsignify a time he desired to move on and disremember. The clock on ofthe creature indicates the dwelling that he currently is in andpresently making an effort to survive. The pebbles highlighted ondifferent edges of the painting signify farewell amid lovers. Thefissures in the cliffs are difficulties individuals experience inadvance to arriving a fixed point in life and discovering happiness.The elevated blue podium in the posterior denotes the trail to anadvanced excellence of life, whereas the dead tree demonstratesimpermanence and that nothing lives endlessly. The bug`s shadow inthe figure of a being may perhaps be a representation of Dali`s lovefleeing, or that he desires to run away from realism.

Haveyou ever woken up and expected it to be still the middle of the nightand are surprised to find that it is already morning? Since the imageis mostly considered to depict a dream state, the distorted andmelting watches signify the unreliable passage of time that wefamiliarize while fantasizing. In Persistence of Memory, Dali showsus how impractical, inept, and random our usual idea of time is inthe reverie form. As much as we are good at observing a track of whattime it is in our routines, keeping time while we are asleep is adifferent story.


Overall,this work conveys a profound sense of joy, through the properblending of colors. The image is 3-D, symmetrical, and abstract. Italso doesn’t stick to all old-style shapes or forms. Dali’s pieceoutlines surrealism, transgressing many of the standards formerlyaccepted by artists and faultfinders. The image echoes so much onSalvador Dali, and the manner through which he saw life. Hisstylishness is implausible, and his photographic representations aremind blowing. The realistic qualities and the absurd creature thatdwell in the piece separate it from the rest.


1.Bell,Philip. &quotContent analysis of visual images.&quot Handbookof visual analysis(2001): 10-34.

2.Dalí,Salvador. Thepersistence of memory, 1931.Shorewood Reproductions, 2006.

3.Hervik,P., &amp Kahn, H. E. (2006). Scholarly Surrealism The Persistence ofMayanness. Critiqueof anthropology,26(2),209-232.

4.Dalí,Salvador. Thesecret life of Salvador Dali.Courier Corporation, 2013.

5.Duran,Gloria. &quotThe Antipodes of Surrealism: Salvador Dalí andRemedios Varo.&quot Symposium:A Quarterly Journal in Modern Literatures.Vol. 42. No. 4. Taylor &amp Francis, 1988.